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Political History of Comic Books in Mexico, 2002.
A review of Anne Rubenstein's book "Bad Language, Naked Ladies, and other Threats to the Nation: A Political History of Comic Books in Mexico".
934 words (approx. 3.7 pages), 0 sources, $ 33.95
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Abstract
This paper analyzes Anne Rubenstein's book "Bad Language, Naked Ladies, and other Threats to the Nation: A Political History of Comic Books in Mexico". It discusses the impact that comics have had in shaping the Mexican political scene, as well as showing how the comics themselves served as a stage for the playing out of political and cultural battles, as Mexico grew from a very Catholic, sustenance-agrarian culture, to a modern industrial one. It shows how in the 1930s there was for the first time in Mexico, a literate or at least semi-literate force with a growing amount of spending cash for entertainment and while the new government may not have directly encouraged the reading of comic books, by promoting civil freedoms and providing economic support for independent publishers, it created an atmosphere that allowed comic books to proliferate.
From the Paper
"In regarding this study it might be best to consider that the story of comic books in Mexico was but a microcosm that when studied gives one an idea of what was happening in Mexico from the 1930s to the 1970s, rather than something that truly shaped Mexican culture and politics into the 21st century. Rubenstein is aware of this concern and says as much, "Comic books and related periodicals were not the only forms of mass media and popular culture that were part of this process in postrevolutionary mexico. Similar stories could be told about many entertainments: shopping, television, recorded music, dance, cinema, cooking, fashion, and holidays, to name only a few."
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Alan Moore's Comic Book Creations, 2008.
A content analysis of three works by Alan Moore: "Watchmen", "Tom Strong", and "Top 10".
2,312 words (approx. 9.2 pages), 9 sources, MLA, $ 71.95
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Abstract
In this article, the writer examines the charge that superhero comic books are invariably sexist in their production and speak to deep-seated and traditional gender stereotypes. Historically, the writer argues that this has been almost exclusively the case, with some notable, if controversial, exceptions such as Wonder Woman. However, content analysis of three works by Alan Moore, 'Watchmen', 'Tom Strong' and 'Top 10', illustrate that it is possible to appropriate the traditionally sexist imagery of the superhero genre and utilize it to call attention to the gender stereotypes that permeate much of the comic book industry. The writer notes that Moore's work has progressively satirized tropes in the superhero genre and have helped, inadvertently or not, through satire to call attention to the wealth of sexism apparent in portrayals of women in comics. The writer maintains that the implication of this hypothesis is that there may be an emerging trend toward the dissolution of traditional gender stereotypes in comic books.
Outline:
Introduction
Aim and Rationale
Content Analysis as a Methodological Approach
Literature Review
Methodology
Findings, Discussion, and Conclusion
From the Paper
"Content analysis is the approach by which one examines a particular cultural text, and critically examines it to unearth specific socio-cultural trends and realities. Some might question this as a viable research method. After all, how useful is a critical analysis of comic books, when one is talking about a pervasive problem such as sexism? How can content analyses of popular movies add anything pertinent to contemporary discussions of poverty in Western nations?"
"The reality is, however, that cultural productions--such as novels, movies, and even comic books--can be powerful, if unintentional portals into the manifestations of cultural trends. Culture and society is really little more than the way in which people interact with one another and the artifacts that they create in the process. These artifacts might be songs or books or movies or ephemeral speeches and behaviors. But what they all share in common is an innate reflection of the socio-cultural trends and attitudes possessed by their creators or society at large. In other words, targeted content analysis of items such as comic books can reveal important information about the attitudes and beliefs of the society in which those particular artifacts were created."
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Comic Book Super Heroes, 2002.
Examines Superman and Batman.
900 words (approx. 3.6 pages), 6 sources, $ 31.95
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Abstract
Examines Superman and Batman. How each superhero represents two different ideals. How each has appeal for different publics. The dualistic way of life of both heroes. The secret identity or alter ego of each. Concept of mythic heroism. Early origins of the two fantasy figures; their back stories. Their interaction with arch-villians.
From the Paper
"This research examines the comic-book superheroes Superman and Batman as representative of two different ideals appealing to two different demographic populations. The research will compare attributes of each figure with a view toward identifying discrete meanings of heroism that find resonance in those who valorize one superhero over the other.
To arrive at contrasts between Superman and Batman, it is first necessary to identify what they may have in common. The most obvious attribute that they share is a double existence. They are apart from the common horde of humanity, special in ways that the rest of humankind can only dream of, or more exactly in ways that illustrate the importance of mythic presence in the psyche if not in everyday experience (Campbell 12). To be sure, both Superman and Batman are fantasy figures, but ..."
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Comic Characters in Shakespeare's Plays, 1996.
Classifies characters as spirit of comedy, figures of fun or verbally witty; functions in comedies, tragedies, romances.
1,800 words (approx. 7.2 pages), 10 sources, $ 63.95
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From the Paper
"The purpose of this research is to classify comic characters in certain of Shakespeare's plays. The plan of the research will be to set forth general categories under which Shakespeare's comic characters can be identified, and then to explore, with reference to the relevant plays, the basis for such classification.
There appear to be three principal categories of comic characterization in Shakespeare's plays, and these categories obtain across the comedies, tragedies, and romances. The kinds of comic characters do not serve precisely the same dramatic function from play to play, and there are variations of detail, as well as some overlapping and convergence of character types. However, the general lines of comic characterization illustrate three comic-character classifications: those who represent the very..."
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Marriage of the Archetypal Comic and Tragic Visions in Dickey's "The Sheep Child", 1999.
How these two antithetical ideas combine in the poem to make the grotesque become beautiful.
1,515 words (approx. 6.1 pages), 2 sources, $ 49.95
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A Comic Struggle: Reinventing the Nuclear Family, 2005.
A look at so called queer films in relation to the heterosexual nuclear family, and how homosexual relationships are changing the makeup of the traditional nuclear family.
900 words (approx. 3.6 pages), 4 sources, $ 35.95
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Abstract
The reinforcement of a heterosexual paradigm dominant in the first gay films was very much criticised by the media. This criticism failed to recognise that 'Dona Herlinda and Her Son' and 'The Wedding Banquet' are movies situated within the realms of heterosexual norms, but movies such as Gus van Sant's 'My Own Private Idaho' and Jonathan Demme's 'Philadelphia' were radically changing queer filmic representation.
From the Paper
"Critics are quick to attack the reinforcement of a heterosexual paradigm dominant in early queer films. However, this judgment forgets that while more mainstream films, such as 'Dona Herlinda and Her Son' and 'The Wedding Banquet', were situated within heterosexual norms, a new queer cinema was slowly but surely radically changing queer filmic representation. The success of Gus van Sant's 'My Own Private Idaho' and Jonathan Demme's 'Philadelphia' could be in part attributed to simultaneous comic representations of queer struggles. So, while American culture was preoccupied with a single queer struggle, the AIDS crisis, other cultures explored the impact of homosexuality on the family unit and on reproduction in particular."
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Sit-coms & Comic Stars, 1994.
Examines the role of stand-up comedians in the development of television situation comedies through the years.
2,025 words (approx. 8.1 pages), 7 sources, $ 71.95
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From the Paper
" Comedy comes in many different forms, and in recent years standup comedy has come into its own. The growth in comedy clubs across the nation and the creation of new outlets on cable television give comedians more exposure than ever before. Styles of comedy change over time, and one of the reasons comedy changes as rapidly as it does today is television. Television uses up material and requires a constant influx of new comedians and new material to satisfy the audience. Comedy has been a vital element in network programming since the beginning of the medium. The massive ratings success of I Love Lucy in the 1950s produced a continuing search for the next long-running hit. A number of comedians have made their mark in recent years with innovative programs or programs that featured their strong points. Several have used their popularity on television as a springboard to.."
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Comic Book Analysis, 2007.
This paper provides a visual and textual analysis of the graphic novel "The Chronicles of Conan, Vol.1" by Robert E. Howard.
1,357 words (approx. 5.4 pages), 1 source, MLA, $ 45.95
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Abstract
The paper examines the visual iconography, literary character development and sequential timeline in "The Chronicles of Conan, Vol.1". The paper describes how the fictional character, Conan of Cimmeria, was originally created through a literary medium, but was made more accessible and more famous by creating an association with visual iconography.
From the Paper
"The classic pulp sword and sorcery novels of Robert E. Howard have resulted in film, comics, and other modern media formats that describe his most famous barbarian character: Conan of Cimmeria. In many ways, the comic book industry has brought the Conan character to greater fame, as Howard's actual novels did not sell well before being visually interpreted. In 1971, the comic book illustrator Barry Windsor Smith artistically interpreted the Conan figure within a certain medium that stood outside the literature that Howard wrote, especially with the greater visual presence of his drawings that gave life to the Conan character."
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"Maus II", 2002.
A review of the story "Maus II" by Art Spiegelman, told in the comic book format.
1,640 words (approx. 6.6 pages), 1 source, MLA, $ 53.95
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Abstract
This paper analyzes "Maus II" a comic book story by Art Spiegelman, telling of the story of the Holocaust in a new approach. The paper describes Spiegelman's use of the mouse characters to humanize and personalize the tragedy. It illustrates how Spiegelman manages to address difficult subject matter in a reader-friendly manner by utilizing the methods of the comic book to tell a very un-comic story.
From the Paper
"Art Spiegelman's Maus II, a continuation of the story in Maus I, is part of a new approach to the telling of the story of the Holocaust. The form selected is the comic book format, and it has a number of powerful advantages. First, it is a fresh approach to a much-told story. Second, the use of the mouse characters interestingly humanizes and personalizes the tragedy much more than might a dry narrative. Third, the choice of a comic format serves the particular understanding of a visual society and a generation more attuned to the image than to the word. Fifth, the format may actually be a more palatable means of addressing such difficult subject matter for some people. Sixth, Spiegelman accomplishes all of this in an ironic fashion, utilizing the methods of the comic book to tell a very un-comic story."
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American Splendor, 2004.
This paper examines how the use of animation and comic book features are brought into the film, "American Splendor."
1,851 words (approx. 7.4 pages), 3 sources, MLA, $ 59.95
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Abstract
This paper examines how this film uses an original mix of fiction and reality, which illuminates the life of comic book hero and everyman, Harvey Pekar. The paper also discusses the skill of an artist to communicate, focusing on the art of comics.
From the Paper
"How does an artist communicate? In the paintings of the great classical artists, the colors, expressions of their subject?s faces, and the surrounding activities all contributed to a mood and content of the times in which they wrote, as well as their own emotional connection to their painting. During the time of Michelangelo, when the human body was considered an art form his paintings and sculptured were created in fine detail, of beauty and specific realism. At the turn of the 20th century, Artists had a new idea, a new flavor to express in their work. The European art world had been dominated by the Michelangelo, his contemporaries, and his imitators for so long that public sentiment in the art world moved in new directions. In response to, or more aptly in reaction against, Claude Monet shoes a unique style, which communicated the beauty of the content, but in a swirl of dots and colors rather than smooth blended strokes. Impressionist art was suited for Monet, and he established his reputation by departing from the smooth colors blending and undetectable brush stroke of the Renaissance era."
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"Maus", 2002.
Discusses Art Spiegelman's portrayal of the Holocaust through comic panels.
700 words (approx. 2.8 pages), 3 sources, MLA, $ 24.95
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Abstract
This paper examines Art Spiegelman?s "Maus", a digest-sized comic book using mice, cats, pigs and other animals to portray a history of the Holocaust. The story recounts the history of the holocaust through highly detailed drawings and comic panels. The paper shows that "Maus" was designed to translate history into a format that would be readily read by younger generations.
From the Paper
"As we delve into the relationships within the story, including those that we are familiar with from history books, we begin to realize more and more what these relationships did to shape the ideology of a group of people, if not a community. The use of comic-images would, you would think, soften the realizations and accounts of events in the Holocaust, but in actuality they greatly amplify them. They are drawn images of memories, which in some aspects are somewhat more horrifying and true to life, than the photographs of the time were."
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"Watchmen", 2005.
This paper examines Alan Moore and Dave Gibbons' book "Watchmen", an example of the superhero comic-art genre, as it relates to President George Bush.
2,070 words (approx. 8.3 pages), 4 sources, APA, $ 65.95
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Abstract
This paper explains that Alan Moore and Dave Gibbons' "Watchmen" has awaken the need for superheroes in the U.S. government; however, the leadership of President George Bush is even more ludicrous than that portrayed in this 'comic' book. The author points out that the reader can easily see the current Washington administration in "Watchmen"; the character Dr. Manhattan, like Mr. Bush is a self-resurrected, all but omnipotent man. The paper relates that the book activates numinous perception held and offered by Mr. Bush such as that Iraq held within its 'evil' boundaries many undiscovered stores of Weapons of Mass Destruction; even the terminology sounds that a comic book.
Table of Content
We Need a Hero
Ordinary Superheroes
Life Imitating Art?
Parallel Universe
Flawed Heroes
From the Paper
"In fact, "Watchmen" is the perfect foil for the current superhero juggernaut of the United States. Thompson notes that "much of the comic's poetry lies in the counterpoint and convergence of its parallel narratives and visual motifs. In keeping with its themes of surveillance, symmetry and time, the story emerges from a multiplicity of perspectives, incorporating flashbacks, found correspondence and precognitive clues." It is, in fact, an apt parallel universe for the United States Congress and administration."
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"Maus", 2003.
A review of the comic book "Maus" by Art Spielegman with an emphasis on how it discusses the Holocaust, through this non-academic form.
1,327 words (approx. 5.3 pages), 2 sources, MLA, $ 44.95
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Abstract
This paper examines the comic book "Maus" by Art Spielegman and analyzes how its portrayal of the history of the Holocaust is shown as subjective to its characters and relationships, mediated by time and memory. It looks at how Spielegman?s task is challenging in its scope, in trying to grasp the human dimensions of an unfathomable experience of a Holocaust survivor. It evaluates how the medium of the comic strip aids in the creating a larger exposure to the story, as well as demonstrating the assembly of a history as a narrative through its use of inclusive interviews and interview methods.
From the Paper
"Remembering is a construction of the past, clips of memory placed into frame. Maus examines the limitations of the techniques of recording experience, by engaging the problems of oral history and memory. The comic strip is a story about telling a story, the testimony of a witness to a significant historical event, as well as a telling of that event. Because it is only one man?s story of the Holocaust, his interpretation is limited in the larger picture of the Holocaust. Yet it also becomes everyman?s story due to the personalizing of the event, the ability an individual?s story has to humanize and universalize. Artie discusses his father?s romances, depression, things that would not otherwise be included or deemed important in a life history during a time of war and genocide. "
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Icons of Authority and Resistance: An Ideological and Semiotic, 2002.
A look at the influence of superhero comics on today's society.
2,650 words (approx. 10.6 pages), 18 sources, $ 97.95
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Abstract
The paper will argue the thesis that superhero comics have performed an ideologically dichotomous role in modern popular culture: at once they are both key structural supports of the ideological architecture of American imperialism while, at the same time, often functioning as subversive figures of resistance to the primary authority structures of that same empire. While an ideological analysis allows us to explore the functions of comic book superheroes in the power dynamics of mass culture, a semiotic analysis complements this approach by allowing us to understand how their ideological function has been reinforced by their "iconic" status within modern culture.
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| Term Paper # 31609 |
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